Experimental philosophy has blossomed into a variety of philosophical fields including ethics, epistemology, metaphysics and philosophy of language. But there has been very little experimental philosophical research in the domain of philosophical aesthetics. Advances to Experimental Philosophy of Aesthetics introduces this burgeoning research field, presenting it both in its unity and diversity, and determining the nature and methods of an experimental philosophy of aesthetics. Addressing a wide variety of empirical claims that are of (...) interest to philosophers and psychologists, a team of authors from different disciplines tackle traditional and new problems in aesthetics, including the nature of aesthetic properties and norms, the possibility of aesthetic testimony, the role of emotions and moral judgment in art appreciation, the link between art and language, and the role of intuitions in philosophical aesthetics. Interacting with other disciplines such as moral psychology and linguistics, it demonstrates how philosophical aesthetics can integrate empirical methods and discover new ways of approaching core problems. Advances to Experimental Philosophy of Aesthetics is an important contribution to understanding aesthetics in the 21st century. (shrink)

In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, (...) aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Modern philosophy has benefited immensely from the intelligence and sensitivity, the creative and critical energies, and the lucidity of Polish scholars. Their investigations into the logical and methodological founda­ tions of mathematics, the physical and biological sciences, ethics and esthetics, psychology, linguistics, economics and jurisprudence, and the social sciences - all are marked by profound and imaginative work. To the centers of empiricist philosophy of science in Vienna, Berlin and Cambridge during the first half of this century, one (...) always added the great school of analytic and methodological studies in Warsaw and Lw6w. To the world centers of Marxist theoretical practice in Berlin, Moscow, Paris, Rome and elsewhere, one must add the Poland of the same era, from Ludwig Krzywicki (1859-1941) onward. (From our preface to Wiatr [1979p. Other movements also have been distinctive in Poland. Phenomenology was developed in the impressive school of Roman Ingarden at Cracow, semiotics from the early work of the philosopher and psychologist Kazimierz Twardowski at Lw6w in the 1890's, with masterful develop­ ment by his disciples Kotarbinski and Ajdukiewicz onward, conceptual foundations of physics in the incisive methodological reflections of Marian Smoluchowski, and mathematical logic from Jan I:.ukasiewicz and Stanislaw Lesniewski to Tarski, Mostowski, and many others. (shrink)

The literature on Leonardo da Vinci is so extensive that a bibliography alone would make many volumes. Most of what has been written about him, however, are studies in history, art criticism, biography, or natural science. The number of writings on his esthetics and philosophy of culture are considerably fewer. And there are very few Marxist studies on these questions. This is particularly true of works devoted specifically to Leonardo alone.

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what (...) I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

The latest volume in the Cambridge Histories of Philosophy series, The Cambridge History of Philosophy in the Nineteenth Century brings together twenty-nine leading experts in the field and covers the years 1790-1870. Their twenty-seven chapters provide a comprehensive survey of the period, organizing the material topically. After a brief editor's introduction, it begins with three chapters surveying the background of nineteenth century philosophy: followed by two on logic and mathematics, two on nature and natural science, five on (...) mind and language, including psychology, the human sciences and aesthetics, four on ethics, three on religion, seven on society, including chapters on the French Revolution, the decline of natural right, political economy, and social discontent, and three on history, dealing with historical method, speculative theories of history and the history of philosophy. The essays are framed by an editor's introduction and a bibliography. (shrink)

This chapter contains section titled: Scholarship Beyond East and West: An Intercultural Transformation The Theory of the Poetic State The Theory of the Refined Conclusion.

The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional (...) practices. Psychologists have developed careful empirical methods for measuring and modeling behavior, methods that are fruitfully used in practice to test and evaluate hypotheses derived from our conception of the nature of our own cognitive and emotional engagement with the world. So, for all appearances, philosophy and psychology are grounded in complimentary research methods directed at the common task of sorting and testing theories about the nature of art and artistic practices, e.g. what is an artwork, what is the nature of the productive practices involved in creating these kinds of artifacts, or what is the nature of a consumer's artistic engagement with these artifacts. Unfortunately appearances can be deceptive. Despite common calls for rapprochement the two disciplines rarely meet. There are methodological and ideological reasons for this rift, and they are, not surprisingly, related. In what follows I will explore and evaluate some of the central sources of resistance on both sides this divide, introduce a model for the possibility of rapprochement, and briefly sketch the promise and pitfalls of current research in two areas, dance and film, where an active attempt at bridging the divide between philosophy and empirical aesthetics is underway. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm (...) opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

Aesthetics is about ways of experiencing the world. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress.

Are things ugly or are they just not beautiful? The answer to this and many other questions can be found in this encyclopedia, the first large-scale comprehensive English-language reference on aesthetics and destined to be a classic in the field. Drawing from experts in the areas of philosophy, art, history, psychology, feminist theory, legal theory, and many more, the encyclopedia presents 600 signed essays alphabetically arranged. Most entries include a headnote clarifying the topic. Entries range from the philosophical (...) essay on ugliness, to the more reality-based article on the impact of AIDS on the arts. Comprehensive coverage includes key figures, concepts, periods, theories, and movements in the history of aesthetics."--"Outstanding Reference Sources: the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA. (shrink)

A new edition of this bestselling introduction to aesthetics and the philosophy of art. Includes new sections on digital music and environmental aesthetics. All other chapters have been thoroughly revised and updated.

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an (...) unusual way: we are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)

Precis of Aesthetics as Philosophy of Perception.

As this writer reads him, Emerson's thinking falls into three loose and broad categories. He held soul to be divine, that intuition or divine spark within every man, whereby every man is capable of infinite growth. He regarded Nature as the lengthened shadow of God cast upon human sense, a kind of incarnation of some Divine Power here on earth. And he believed Deity ever near to man, and every soul possessed of access to Deity, not continuously, but at least (...) in moments of exaltation. This triple structure--the primacy of the soul, the immediacy of Nature, and Divine Immanence--might be called the skeleton framework of his message. (shrink)

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, to be visible, and to continually (...) participate in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

With the sustained, coherent perspective of an authored text and the diverse, authoritative views typical of an anthology, Philosophy of Art: Aesthetic Theory and Practice by David Boersema provides the context and commentary students need to comprehend the various issues in philosophy of art. Throughout the book, issues are examined using the lenses of the three broad areas of philosophy: metaphysics, epistemology, and value theory. That is, concerns are raised about what is expressed, how it is expressed, (...) and why it is expressed. Chapters on the artist, the audience, and the artwork further break down the discipline and are applied to the final chapters on the specific types of art. The differences between art and science as well as the relationship of art and society provide a refreshing discussion of overlooked areas in philosophy of art. (shrink)

Philosophy of aesthetics and beauty has traditionally prioritized the sense of vision while deprioritizing the more basic-bodily and thus less “noble” sense of touch. This paper examines bodily aspects of how beauty appears in the experience of visual art and motivates the view that touch is fundamental to such experiences. We appeal to Merleau-Ponty to show the relevance given to touch in his phenomenology of aesthetics, to unfold the meaning of touch as “reversible,” and to understand how (...) vision can be conceptualized as a form of touch. Further, we present four cases of feeling touched by beauty in experiences of visual art collected through interviews with art museum visitors. The descriptions of these experiences show that when people open themselves to an artwork they also open themselves to themselves. Based on the qualitative descriptions, we discuss how Merleau-Ponty’s phenomenology of touch is revelatory of the meaning of feeling “touched” in experiences of beauty. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...) on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

Examining afresh the 16th-century style of mannerism, Sjoerd van Tuinen synthesises philosophy and aesthetics to demonstrate not only the contemporary relevance of mannerism but its broader significance as a form of modal thinking. Beyond a style of art that spurned the balance and proportion of earlier Renaissance painting in favour of compositional instability and tension, this book looks a-historically at mannerism to investigate what it can tell us about continental modal metaphysics, focusing in particular on its artificial and (...) what Van Tuinen calls 'secondary' nature. In three main parts, Van Tuinen first explores the ontology, aesthetics and ethics of mannerism. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy and contemporary technologies of speculative design. Drawing on Bergson, Simondon, Deleuze, Stengers and Agamben, together with artworks from Lomazzo to Arcimboldo, The Philosophy of Mannerism uncovers the rich new pathways created by the combination of philosophy, art history and contemporary theory. (shrink)

An anthology of contemporary readings in analytic aesthetics, this reference reflects the relationships among the central aesthetic concerns of recent years. Providing a new perspective on the contemporary philosophy of art, this volume examines the challenge of Postmodernism and how it may or may not affect the future of analytic aesthetics... offers a case study of the progress that has been made in handling the problem of expression in the arts... reconceptualizes the concepts of the art work, (...) its properties, and our experience and evaluation of it -- to take into account an expanding cultural, sociological contextualization, i.e., art as a culturally emergent product of social institutions and conventions... features several readings organized around clusters of writers discussing each other's ideas and proposals, including: Beardsley, Dickie, and Blizek -- Wolterstorff, Levinson, and Bender -- Stolnitz and Dickie -- Beardsley, Margolis, and Novitz -- and Sibley and Dickie. Suitable for professionals in the art industry and anyone interested in the philosophy or aesthetics of art. (shrink)

00 Drawing on the phenomenological tradition in the philosophy of science and philosophy of nature, Patrick Heelan concludes that perception is a cognitive, ...

The Hungarian-born author, who is both an original and a prolific thinker, has written on various figures of the history of philosophy and on particular philosophic problems, his first published work having been his Grundlegung der Philosophie, followed by studies in metaphysics,; esthetics, psychology, and philosophic anthropology. However, the major work containing his own system is the Aufbau des Seins. To know and under stand Brandenstein's philosophy, one ought to study this work, a task made difficult by its (...) coined terms, its complicated, Ciceronian style, the relative novelty of its thought, and its extreme systematization. (shrink)

What often occurs in relation to contemporary culture are attempts to develop a philosophy which would be focused on culture which is gaining in importance and which would thus complement the extant philosophy of art. The author discusses two such attempts, namely those of Heinz Paetzold and Fredric Jameson. Nonetheless, in his view, in both cases the theories offered remain insufficient and in need of further development if they are to philosophically grasp the current changes in art and (...) culture. (edited). (shrink)

We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the (...) framework of the ontology of the process of the production of art, inspired especially by the views of Antonin Artaud, Nietzsche, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature. (shrink)

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with clearly philosophical issues. In (...) _A Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (shrink)

Perception has been for philosophers in the last few decades an area of compelling interest and intense investigation. Developments in contemporary cognitive science and neuroscience has thrown up new information about the brain and new conceptions of how sensory information is processed and used. These new conceptions offer philosophers opportunities for reconceptualising the senses--what they tell us, how we use them, and the nature of the knowledge they give us. Today, the philosophy of perception resonates with ideas that had (...) not even been articulated in the 1970s and 1980s. This Handbook is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. (shrink)